Duration
2 Years (6 trimesters)
Locations
Sydney, Melbourne, Brisbane
Fees
Intake Dates

February, June, September

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International

CRICOS 081191F 

JMC welcomes students from all over the world.
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Standing centre stage, crowd roaring, bass pumping, the lights come up… Making it as a musician doesn’t have to be a fantasy – make it your reality... Become a complete performing musical package with a JMC Bachelor degree.

Evolve your music writing, music technology and live performance skills under the tutelage of some of the best teachers and performers in the music industry. You will receive weekly one-on-one private lessons on your major instrument to improve your technical facility, musicality, and performance skills, and at the end of the major this will culminate into a large-scale major project, which could contain elements of recorded performance as well as a live recital.

Write and perform the music for an app, a game, or the soundtrack to a film - and collaborate with JMC students in other fields on industry projects while building a creative network you can rely on throughout your career. Learn about how to navigate the music business, and how to identify professional opportunities. Master multi-platform performance skills, mixing techniques and recording, produce and arrange for ensembles while expanding your knowledge of repertoire; and undertake your own specialist project that will see you performing a major gig to a live audience.

Why Study Music Performance at JMC?

Unique 1-on-1 instrumental or vocal tuition
Become a more employable musician with improved knowledge of music language and performance techniques
Regular live performance opportunities in real venues

Technology & Facilities

Designed for recording high-quality demos and mastering performance, our studios feature ProTools, Logic, Ableton Live and Native Instruments, along with MIDI keyboard controllers and monitors, top of the range microphones and over 30 (national) fully fitted rehearsal studios and performance spaces equipped with digital and baby grand pianos, drumkits and an array of amplifiers.

Duration

In only 2 years you can graduate with a Bachelor degree thanks to our accelerated full-time course. Part-time study is also available to domestic students. International students may choose to complete the course in 3 years [058463A] rather than the accelerated 2 year option.

Students who have successfully completed 4 trimesters of the Bachelor programme may successfully graduate with an Associate Degree qualification.

Study Abroad

During your time with us you'll get the opportunities to participate in international masterclasses, study tours, and music and songwriting camps. JMC Music Students can apply for the international Songwriters Camp at Haarlem Conservatory in the Netherlands, Nandos Music Exchange in London or the JPop study tour in Japan.

*Study Abroad programs will resume once international travel restrictions ease

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Core Units

It is essential to constantly develop as a member of a band and as an individual player to ensure a future musical career. In Performance Study 1, students will begin to develop their technical expertise in their principal instrument and awareness of repertoire for solo and ensemble situations. The unit involves the study of technical work and repertoire, through one-on-one instrumental lessons (1 x 30 min lesson per week). Subsequent Performance Study units continue to develop technical proficiency, creativity and their personal playing styles. The underlying theme of these units is exploration and experimentation with a view of identifying and continually refining the student’s personal expression.

Ensemble I

It is essential to constantly develop as a member of a band and as an individual player to ensure a future musical career. The Ensemble sequence of units has been designed to provide the time and guidance required for the maturation of students’ performance abilities. In Ensemble 1, students will begin to develop their expertise in their principal instrument and awareness of repertoire through ensemble sessions (1 x 2-hour session per week). Stage performance technique as ‘stage presence’ is introduced and students are given the opportunity to explore, rehearse and develop musical skills in a group or ensemble environment. Students will be able to demonstrate their craft during two formal ensemble performances. To assist in the development of their professionalism, students will begin to develop planning skills and the ability to set specific, timely and achievable goals. Attention is placed on learning basic communication and interaction skills.

Collaborative Music Project I

In the first unit in the Collaborative Music Production sequence, students are introduced to the practices of collaborative music-making. For musicians developing a specialist skill as a creative technologist, replication of music elements via digital environments is an integral foundation skill for a digital creator. This unit includes aspects of group music creation and replication using software, piano skills via industry DAWs, and basic stylistic replication. Across a 1 x 2-hour supervised group class per week (and additional self-organised follow-up sessions), students will develop planning skills and the ability to set specific, timely and achievable goals. Attention is placed on learning basic communication and interaction skills.

This unit continues developing the student’s knowledge and understanding of Music Theory, in preparation for musicianship at a professional level. Skills and understanding achieved in the unit will include knowledge of written theory, and extended understanding of notation and harmonic relationships at an intermediate level. This expanded level of musicianship will eventually allow students to compose or arrange successful compositions and help develop technical musical skills on a chosen instrument. This is the second of four units (Music Theory 1-4) that will build the students’ ability and knowledge within practical components of written music theory, and increase their overall musical awareness.

This subject provides development in the student’s aural musicianship skills. In undertaking this subject, students will gain an understanding of fundamental musical principles and strengthen their aural perception of musical elements. Skills and understanding achieved in this subject create the foundation of any professional musician, which will be further developed during the duration of the course. This fundamental level of musicianship will allow students to better appreciate music and explore sonic textures. Emphasis is given to three main area including rhythmic perception and performance, solfege, performance and recognition of harmonic and melodic elements.

This unit provides an overview of Western contemporary popular music styles and the evolution in production of recorded and performed music since the 1950s. Students investigate major musical styles and periods from the 1950s to the present, and develop the ability to define key characteristics of each. The unit introduces the broad themes of what constitutes popular music, and elements of music production, with an emphasis on musical events, key artists or industry figures, and institutions which contributed to the development of different musical movements. Students are exposed to the structure of the music industry, developing their understanding of the inter-relationship between the different sectors and key historical developments, and gain an appreciation of the music tradition within which they will work. The unit provides a context and preparation for the concepts which are explored further in subsequent units and is essential for future professional practice in the music industry. Basic academic writing skills and assignment planning will also be covered in this unit.

This unit introduces students to the capacity of music technology to enhance their potential as musicians, composers, and recording artists. Students will investigate the fundamental range and features of music technology available and gain an understanding of its potential in the creative process. Students will learn the fundamentals of the technology underlying all stages of music creation and distribution. They will also investigate the operations and parts of a computer; set-up and operation of small music home recording systems; operation of industry-standard software program (Pro Tools, Logic Pro, or Ableton Live) and program using Musical Instrument Digital Interface (MIDI). Students will acquire (or reinforce) basic musicianship and keyboard skills. Academic writing skills with research and referencing methodology will also be covered as part of preparation for the first assessment task.

As for Performance Study 1, in Performance Study 2, students will continue to develop their technical expertise in their principal instrument and awareness of repertoire for solo and ensemble situations. The unit involves the study of technical work and repertoire, through one-on-one instrumental lessons (1 x 30min lesson per week). It is expected that the student will be able to exhibit a level of musicianship and craft superior to that demonstrated in Performance Study 1. More attention is placed in this unit on audience engagement during performance.

Ensemble II

It is essential to constantly develop as a member of a band and as an individual player to ensure a future musical career. The Ensemble sequence of units has been designed to provide the time and guidance required for the maturation of students’ performance abilities. In Ensemble 2, students continue to develop their expertise in their principal instrument and awareness of repertoire through ensemble sessions (1 x 2-hour session per week). The focus for this Ensemble unit is on working with a new group of musicians to develop an extended repertoire for live and recorded performances. Specialist tutors guide students through this process, from increasing technical proficiency, creativity and the development of their personal playing styles. Their stage persona also continues to be refined, with increasing emphasis on movement, stage dialogue, microphone technique, musicianship and stage image. To prepare for the live performance and live recordings, a number of rehearsal sessions are organised where students will be given ‘real time’ feedback from their tutors, as well as discussing and critiquing performances with their peers.

Collaborative Music Project II

In Collaborative Music Project 2, students are expected to apply superior knowledge proficiently at a level higher than they demonstrated in Collaborative Music 1. To achieve this, students will be encouraged to explore different models for creative collaboration in the design and realisation of a group-based music technology project, with a focus on a model that allows them to best communicate with each other. The scope of the creative work in this unit is potentially limitless, however students will have to work together to articulate, refine and justify their creative choices so that the production achieved is a thought-provoking combination of musical interests, talent and skillsets. Students may also participate in a collaborative live recording assessment with student ensembles from PSP215 Ensemble 2, which will require the application of professional communication skills and sharing of knowledge and skills.

 

This unit continues developing student knowledge and understanding of music theory, in preparation for musicianship at a professional level. Skills and understanding achieved in the unit will include knowledge of written theory, and extended understanding of notation and harmonic relationships. This expanded level of musicianship will eventually allow students to compose or arrange successful compositions and help develop technical musical skills on a chosen instrument. This is the third of four units (Music Theory 1-4) that will build the students’ ability and knowledge within practical components of written music theory, and increase their overall musical awareness.

It is essential to constantly develop as a member of a band and as an individual player to ensure a future musical career. The Ensemble sequence of units has been designed to provide the time and guidance required for the maturation of students’ performance abilities. In Ensemble 1, students will begin to develop their expertise in their principal instrument and awareness of repertoire through ensemble sessions (1 x 2-hour session per week). Stage performance technique as ‘stage presence’ is introduced and students are given the opportunity to explore, rehearse and develop musical skills in a group or ensemble environment. Students will be able to demonstrate their craft during two formal ensemble performances. To assist in the development of their professionalism, students will begin to develop planning skills and the ability to set specific, timely and achievable goals. Attention is placed on learning basic communication and interaction skills.

This unit develops students’ conceptual knowledge and technical skills in songwriting, focusing on songwriting technique and practice methods, harmonic and melodic analysis, lyric content, form, and structure, and the ability to present their songs using industry standard lead sheets. Students will investigate the links between music and lyrics (prosody), form and structure of contemporary song, and analyse influential songwriters and their works during class time. Following the first assessment, the unit goes on to develop the students’ understanding of the process of music arranging. This begins by learning the idiosyncratic notation techniques and musical features of instruments within a basic contemporary music ensemble of vocals, guitar, piano/keyboard, bass and drums. Then students move on and further develop an understanding of writing for front line instruments - specific brass and reed instruments that are known in contemporary music as the ‘horn’ section. Each section of the ensemble requires a specific writing technique, and students create an arrangement of their original song submitted for the first assessment, demonstrating an understanding of harmony, melody, rhythm, structure and stylistic devices. Throughout this unit students work with the notation program Sibelius, learning techniques to craft clear scores and parts.

The purpose of this unit is to give students an introduction to the music industry enabling a basic understanding of key sectors, roles and structures within it. It will also introduce students to copyright as it applies broadly to musical, literary, dramatic and artistic works and the functions and responsibilities of publishers and publishing companies. All areas relating to the application of copyright and the workings of publishing are considered. This unit also introduces music publishing contracts, distribution deals, and opportunities that are emerging with the development of digital technology and the practices of independent artists. It will also explore the fundamentals of band management, including use of an ABN and basic business principles.

Regardless of genre, great performances depend on technical proficiency. In Performance Study 3, tutors and assessors are looking for the student to have further developed their own knowledge and skills in the playing and performing of their instrument (including vocals) that is an expression of the student’s own performance style. It is also expected that the student will combine their increased technical proficiency with relevant and appropriate techniques to meaningfully engage their audience in their performance.

Ensemble III

In Ensemble 3, students will continue to develop their expertise in their principal instrument and awareness of repertoire through ensemble sessions (1 x 2-hour session per week). The sequence of Ensemble subjects are designed so students can incrementally develop their technical proficiency, creativity and the development of their personal playing styles. Stage performance technique also continues to be refined, including movement, stage dialogue, microphone technique, musicianship and stage image. At this point in their development, students will be required to write their own original material for performance, as well as develop repertoire of their choice. To assist this process, students can form ensembles of their own choice as it is expected they will be at an instrumental performance standard to make a significant contribution to the ensemble. Students will also work collaboratively with the other departments as part of a recording integration project. This is an opportunity to work with the other JMC Academy creative disciplines and develop new understanding and skills.

Collaborative Music Project III

In Writing & Production 3 students continue to engage in collaborative music making, shifting the focus to live instrumentation and ensemble recording. The unit enables students to work collaboratively to create and record music using acoustic instruments alongside software. This unit includes aspects of group music creation and replication using software, piano skills via industry DAWs, and stylistic interpretation and arrangement. Students will develop planning skills and the ability to set specific, timely and achievable goals.  Attention is placed on learning basic communication and interaction skills.

This unit continues developing your knowledge and understanding of Music Theory, in preparation for musicianship at a professional level. Skills and understanding achieved in the unit will include knowledge of written theory, and extended understanding of notation and harmonic relationships. This expanded level of musicianship will eventually allow you to compose or arrange successful compositions and help develop technical musical skills on a chosen instrument. This is the third of four units (Music Theory I-IV) that will build your ability and knowledge within practical components of written music theory, and increase their overall musical awareness.

This unit builds on the musical concepts covered in Ear Training 1 and 2, preparing the student for musicianship at a professional level. Skills and understanding achieved in the unit will include aural recognition of ascending and descending intervals within and beyond an octave, four-note chords and extensions, modes and complex scales, with sight-reading of rhythms and melodies as well as vocal reproduction of said intervals chords, and scales. This is the third of four units (Ear Training 1–4) that will build the students’ ability and knowledge within practical components of music theory and increase their overall musical awareness.

The unit equips students with knowledge and understanding of how contemporary music engages with various form of media in digital and traditional scenarios. A basic understanding of music marketing - including definitions, processes and planning strategies - is covered, allowing students to reflect on their own work-related performance and develop an advanced understanding of incorporating various media into their career practice. Students will also develop a capacity to incorporate other media, such as film, art, design and other creative fields into the promotion of their music and musical projects. This unit will also cover some basic media creation skills using widely available production software such as Adobe Illustrator, Photoshop, and Final Cut Pro.

In Performance Study 4, the final unit in this sequence, students have the opportunity to seize full advantage of these sessions to take their technical expertise to the next level in preparation for professional performances. As experienced professional musicians themselves, students will collaborate with their tutor to develop a repertoire that showcases their mastery in style and repertoire, and technical expertise in their principal instrument. Experimentation, as improvisation is explored to deepen understanding of musical style, form, interpretation, and musicianship in preparation for their musical career.

Ensemble IV

The necessity to constantly develop to a professional standard as a member of a band and as an individual player continues in Ensemble 4. to ensure a future musical career. The Ensemble sequence of units has been designed to provide the time and guidance required for the maturation of students’ performance abilities. In Ensemble 4, students will be required to collaborate, create and perform in an ensemble in three different contexts, including a live multi-track studio recording. A particular emphasis is placed on stagecraft and how group members communicate and interact on stage. This has two purposes. One is so their audience experiences a group performance, and the second is so students can explore the role of a musical director in performance settings. It is expected that students will be able to provide an insightful rationale as to their choice of repertoire and approach to performance, as well as engage in constructive critique of their own and others performances.

Collaborative Music Project IV

In Collaborative Music Project 4 students continue to engage in collaborative music making, shifting the focus to inventive manipulation of sound through effect processing. The unit enables students to work collaboratively to create and record music using acoustic instruments alongside software. This unit includes aspects of group music creation and replication using software, piano skills via industry DAWs, key hardware devices and stylistic interpretation and arrangement. Students will develop planning skills and the ability to set specific, timely and achievable goals.  Attention is placed on learning basic communication and interaction skills.

This unit continues developing student knowledge and understanding of Music Theory, in preparation for musicianship at a professional level. Skills and understanding achieved in the unit will include knowledge of written theory, and extended understanding of notation and harmonic relationships. Music Theory 4 introduces knowledge of dominant chords, dominant chord interchange through substitutions, resultant scales, and blues.  This expanded level of musicianship will eventually allow students to compose or arrange successful compositions and help develop technical musical skills on a chosen instrument. This is the final of four units (Music Theory 1-4) that build the student’s ability and knowledge within practical components of written music theory and increase their overall musical awareness.
This unit builds on the musical concepts covered in Ear Training 1-3, preparing the student for musicianship at a professional level. Skills and understanding gained in the unit will include aural recognition of secondary dominants, modulation, modal interchange, polyrhythms, odd-time signatures, and utilisation of the full chromatic scale.  In addition, students will engage with sight-reading of rhythms and melodies, and vocal reproduction of intervals, chords and scales. This is the last of four units (Ear Training 1-4) that build the students’ ability and knowledge within practical components of music theory and increase their overall musical awareness.

This unit will continue to develop the understanding of musical style, improvisation, form and interpretation, and begin to focus that into a clear artistic identity, career pathway, and representative product. There will be an emphasis on the development of original material and/or original arrangements, and the development of a range of repertoire. Students will demonstrate a higher stylistic understanding and incorporate advanced music concepts.

The ultimate outcome of this two-trimester long unit will be a major project, which could include high-quality audio recording showcasing the student’s performing, songwriting, or production talents, and/or a live performance recital showcasing the student’s ability as a performer and bandleader. In Trimester 5, for Part 1 of this large project, students maintain a series of one-on-one mentorship sessions in conjunction with a group seminar each week in order to plan, prepare, and produce their own project. Part of this project will be delivered at the end of this trimester (Trimester 5), which would be considered a portion of the final project that will be submitted at the end of Trimester 6. For example, a Performance student may spend Trimester 5 arranging and preparing their material for performance, then spend Trimester 6 rehearsing and polishing that set for a recital performance or event. A Songwriting student or Production student may spend Trimester 5 writing their material and submitting demos of their songs, then spend Trimester 6 producing and recording this material for their folio submission.

The purpose of this unit is to comprehensively examine business principles and concepts for the contemporary music performer with the aim of establishing a sustainable professional practice. It will examine performance environments as well as music industry business models. Each student will be required to exercise critical thinking and judgment in identifying ongoing professional development requirements and opportunities.

This unit will continue to develop the understanding of musical style, creativity, form, and interpretation, and begin to focus that into a clear artistic identity, career pathway, and representative product. There will be an emphasis on the development of original material and/or original arrangements, and the development of a range of repertoire.

Students will demonstrate a higher stylistic understanding and incorporate advanced music concepts. The ultimate outcome of this two-part sequence of units (incorporating PSP 405 Large Project 1) will be a major project, which could include high-quality audio recording showcasing the student’s performing, songwriting, or production talents, and/or a live performance recital showcasing the student’s ability as a performer and bandleader.

In Trimester 6, for Part 2 of this large project, students continue to work on their project through a series of one-on-one mentorship sessions in conjunction with a group seminar each week in order to plan, prepare, and produce their own musical project. This project is then delivered via a live performance, musical soundtrack, music and film project, exhibition, event, high-quality recording, or interactive material.

Elective Units

In this unit, students will be encouraged to look beyond Western music conventions and examine a range of music traditions from around the world. Students will implement this information, and the skills gained in the music technology and Composing/Arranging streams, to write and/or record a ‘crossover’ piece of music utilising one or more Non-Western musical traditions. In essence the unit is an introduction to the specialist research field of Ethnomusicology whilst giving students a chance to further hone their composition/arranging skills.

This unit continues to develop students’ conceptual knowledge and technical skills in songwriting, focusing on advanced melodic concepts and techniques, an understanding of complex harmony in popular music, and further creative and technical lyric writing concepts such as rhythm, phrasing, setting and metaphor. Students will further their ability to present their songs using industry standard lead sheets and demo recordings. Students will investigate the links between music, lyrics and meaning by analysing influential songwriters and their works.

This unit will provide knowledge of the advanced concepts of evaluating sound in audio and musical recordings and introduces the concept of the Art of Record Production. Topics to be covered include advanced mixing and production techniques, musical and production technique history and how they relate to modern recordings. This unit contributes to the degree by providing a deeper understanding of music traditions and music production techniques.

Successful completion of this unit empowers the student with the capacity to integrate music technologies using Ableton Live within their live performance and production work. Assessment tasks aim to enable students to adapt and apply use of the tools by current artists and then produce two works: one which is a recorded and mixed piece of audio, and another work which can be integrated effectively into a three to five-minute performance piece. Students will gain an understanding of a context in which music technology is currently used for contemporary music performance and will gain experience with the technical process which enables the merging of Ableton Live into their own creative work.

This unit broadens the objectives of previous songwriting units, Songwriting and Arranging and Lyrics and Songwriting, incorporating an understanding of significant literary, written, aural and oral traditions and techniques of benefit to the contemporary songwriter. The purpose of this unit is to analyse the links between the modern songwriter and other types of expression in language from both the past and present, and the employment of techniques involved in the formation and execution of contemporary songs. The unit will also examine the songs of key contemporary songwriters, discovering their sources and influences to highlight artistic methodology, creativity and originality. Knowledge gained will potentially contribute to shaping each student’s approach to creative songwriting and may go on to inform their own original style.

In building upon previous study in composition and arranging this unit will now introduce student to writing and arranging for Strings, Woodwind, Brass and Percussion. The practical skills covered in this course require students to continue their musical notational, aural, conceptual and analytical skills in order to craft a skilled arrangement for a range of instruments. There is also a continued focus on contemporary music theory, advanced harmonic and melodic concepts.

The purpose of this unit is to provide students with a comprehensive historical and cultural overview of Western Art Music. It is important to understand the historical context of the periods and how they influenced musical development, to enable students to communicate with other musicians and develop a conceptual framework for describing music and its stylistic characteristics. The different periods of music will be discussed and analysed looking at musical characteristics such as: use of key, harmony, instrumentation, texture, dynamics, melody, phrasing, ornamentation, articulation, form and rhythm. These musical eras will be put into context with the political, social, philosophical and artistic cultures of each period. The unit will cover ancient and medieval music to music of the 21st Century.

This unit provides the student with the opportunity to look at the techniques and challenges associated in private music instruction. The unit includes development of knowledge and understanding of pedagogical techniques, lesson planning, structure and evaluation, practice techniques, student motivation, examination syllabus, physical and digital resources and planning for developing a private teaching enterprise.

In this unit, students will develop an understanding of advanced concepts in compositional styles and apply these within the assessment tasks. The content of this unit focuses on the advanced modal, melodic and harmonic theory and compositional application within jazz and progressive contemporary music, and also the rhythmic and structural compositional methodology drawn from 20th and 21st century art music and its various sub-movements. The unit builds on skills learned by students in PSP 202 Songwriting and Arranging and PSP 302 Lyrics and Songwriting, but expands the concepts of songwriting to include more advanced compositional concepts, with an emphasis on experimentation and using scoring as a compositional tool. Students create their own compositions which demonstrate an advanced understanding of the principles and exploration of melody, harmony, rhythm, and form and structure.

This unit enables students to develop their conceptual knowledge and technical skills in understanding and composing music to convey specific emotions and aesthetics for a variety of productions. Students are required to apply these skills to the preparation and recording of music for a screen project. The unit follows on from the fundamental skills of composition and production that students were introduced to in previous theory and technology units. Students also develop knowledge of the relationship between music and a variety of visual scenarios and the scoring possibilities within each context. The unit looks at media involving film and television, video games, web sites, commercials, animation and other new media. Students learn how to master the technical and musical skills needed to create effective music for each type of media. During this unit there is scope for students to integrate with other departments in collaborative projects or work with pre-existing media.

(by application only)

This unit provides you with an opportunity to ‘learn by doing’, and just as importantly to reflect upon your ‘doing’ in relation to achieving the unit’s learning outcomes. To guide your expectations of this unit, JMC Academy use the National Society for Experiential Education’s definition of internship, which is ‘a carefully monitored work or volunteer experience in which an individual has intentional learning goals and reflects actively on what he or she is learning throughout the experience’. You, your host employer and JMC Academy, will agree on a plan of work that meets your professional goals and the requirements of the unit. You will undertake that work in the workplace, under supervision from JMC Academy and your host employer’s nominated workplace supervisor. You are participating in this unit because you have made a successful application, and an internship opportunity is available to you. You will work with your campus’ internship/unit coordinator to make all the arrangements for your internship, as well as completing all necessary paperwork. JMC Academy will work with you to make your internship a success, including being as flexible as possible with regard to how, when and where you ‘intern’. Your internship/unit coordinator will be in regular contact with you, and you too must make an effort to contact them if you have any concerns or questions. In any case, you must successfully complete all assessment tasks to pass this unit.

(by application only)

This subject is a special project based on research, experiences and learning undertaken in conjunction with the overseas academic partners and JMC Academy. Students will be immersed in two weeks of educational experiences prior to JMC Academy trimester start, hosted by the overseas academic partners. They will cover a range of topics, skills and knowledge taught by industry experts and educators in the students’ area of study (Entertainment Business Management, Music, Design, Film and Television, Audio Engineering, Animation and Game Design). On completion of the two weeks of study, students will continue with a 12 week special project on campus at JMC Academy in Australia. Individual projects are based on a specific project topic of the student’s choice made in consultation with their term supervisor. That is then developed over the length of the subject. Students will be supervised and will work in conjunction with their supervisor to complete their project (Academic or Practical).

Our Lecturers

Travis New

Music Lecturer

Since earning his Bachelor of Music at Southern Cross University and relocating to Sydney in 2008, Travis has become a familiar face on the Australian touring circuit and become one of Australia’s most in-demand guitar players and Music Directors.
Being a highly versatile and dynamic guitar player has seen Travis perform with many artists across a wide variety of genres both in Australia and during his time in Nashville TN (2017-2019).

Some of the artists Travis has worked with include Morgan Evans, Andrew Farriss (INXS), Ruel, Jack River, Travis Meadows, Mi-Sex, Boney M, Steve Balbi, Jasmine Rae, Adam Brand, Sinead Burgess, Jacob Martin Band, Jessica Mauboy, Jack Vidgen, Dami Im, Samantha Jade, Anthony Callea, Jai Waetford, Jaimie McDell, Amber Lawrence, Baylou, Jason Owen and Paulini.

Travis also holds a Masters Degree in Secondary Education and Teaching (UNSW) and is passionate about Music Education and it's value in society.

Travis New

Music Lecturer

Since earning his Bachelor of Music at Southern Cross University and relocating to Sydney in 2008, Travis has become a familiar face on the Australian touring circuit and become one of Australia’s most in-demand guitar players and Music Directors.
Being a highly versatile and dynamic guitar player has seen Travis perform with many artists across a wide variety of genres both in Australia and during his time in Nashville TN (2017-2019).

Some of the artists Travis has worked with include Morgan Evans, Andrew Farriss (INXS), Ruel, Jack River, Travis Meadows, Mi-Sex, Boney M, Steve Balbi, Jasmine Rae, Adam Brand, Sinead Burgess, Jacob Martin Band, Jessica Mauboy, Jack Vidgen, Dami Im, Samantha Jade, Anthony Callea, Jai Waetford, Jaimie McDell, Amber Lawrence, Baylou, Jason Owen and Paulini.

Travis also holds a Masters Degree in Secondary Education and Teaching (UNSW) and is passionate about Music Education and it's value in society.

Steve Pope

Music Lecturer

Steve began playing drums professionally in the mid-nineties and graduated from the Queensland Conservatorium in 2001 with a Bachelor of Music.

He toured and recorded with Kate Miller-Heidke for seven years. During this time, he performed live at the 2007 ARIA Awards, played shows throughout Australia, the UK and Asia, and appeared on programs including Sunrise, Live at the Chapel and Rove. Steve has worked with other high-profile acts including Darren Hayes, Angus & Julia Stone, Serena Ryder and Transport.

Steve is in high demand as a recording and touring session player. Steve performed in the premiere season of Muriel’s Wedding the Musical and recorded drums for the original cast soundtrack. He also performed for the Melbourne season of Evita the Musical starring Tina Arena and played the 2019 Australian tour of Muriel’s Wedding the Musical. He currently tours with Melbourne artist Evan Klar.

With over 20 years’ experience as a drum kit teacher, Steve has mentored players of all different ages and abilities. His students include drummers from many high-profile Australian acts.

Steve believes the best results come from a customised teaching approach. He works with his students to understand their interests and goals and designs a learning experience suited to their individual needs. He is particularly interested in technique and body mechanics as applied to the drum kit.

Steve Pope

Music Lecturer

Steve began playing drums professionally in the mid-nineties and graduated from the Queensland Conservatorium in 2001 with a Bachelor of Music.

He toured and recorded with Kate Miller-Heidke for seven years. During this time, he performed live at the 2007 ARIA Awards, played shows throughout Australia, the UK and Asia, and appeared on programs including Sunrise, Live at the Chapel and Rove. Steve has worked with other high-profile acts including Darren Hayes, Angus & Julia Stone, Serena Ryder and Transport.

Steve is in high demand as a recording and touring session player. Steve performed in the premiere season of Muriel’s Wedding the Musical and recorded drums for the original cast soundtrack. He also performed for the Melbourne season of Evita the Musical starring Tina Arena and played the 2019 Australian tour of Muriel’s Wedding the Musical. He currently tours with Melbourne artist Evan Klar.

With over 20 years’ experience as a drum kit teacher, Steve has mentored players of all different ages and abilities. His students include drummers from many high-profile Australian acts.

Steve believes the best results come from a customised teaching approach. He works with his students to understand their interests and goals and designs a learning experience suited to their individual needs. He is particularly interested in technique and body mechanics as applied to the drum kit.

Steve Balbi

Music Lecturer

The music of singer, composer, performer and producer Steve Balbi is a kaleidoscope of rock ,pop, sentimentality and soul. First trying his hand at bass with Kevin Borich Express at just 17 years of age, Balbi was very much the child prodigy. Although the creative chameleon was soon liberated as he cultivated a song-writing partnership with Justin Stanley; first founding and producing Aussie chart-toppers Noiseworks in 1986, before forming the Electric Hippies in 1993.

Numerous European tours, four multi-platinum award-winning albums, and various ARIA Award Nominations later, Balbi lifted his guitar from the rack to form Universe with Cathy Green (X) in 1996, working with Prince and Paisley Park’s Susan Rogers, before Move Trees and Moon emerged in subsequent years. In 2011, Balbi accepted an invitation to front 1970s and ‘80s new-wavers Mi-Sex, who this year celebrate the 40th Anniversary of Graffiti Crimes. The LP and hit single ‘Computer Games’ scooped the pool at the 1979 Countdown/TV Week Awards – Mi-Sex won Best Album (Graffiti Crimes), Best/Most Popular Single (Computer Games), Best Producer (Peter Dawkins), and Best New Artist.

Reflecting upon his journey as a composer and producer, Balbi’s eclectic catalogue of production credits transcends genres. For the dynamic assemblage of artists that he’s produced includes Noiseworks, Electric Hippies, Glenn Shorrock, Juice, Jenny Morris, Pearls & Swine, Toe to Toe, Vincent Stone, Fyre Byrd, Moon, and Christine Anu, among numerous others. And in 1999, Balbi sat in on vocals and guitar for David Bowie’s Hours sessions with Marius de Vries too.

In April 2018, Dr Jordan Nguyen and his extraordinary team at Psykinetic launched Atmosphere – eye-controlled technology that enables people living with high-level physical disability to use only their eyes to make music. Balbi traversed new ground alongside Jessica Irwin to release the single ‘Winners (Psykinetic Mix)’, which was recorded for Psykinetic’s eye-controlled music software.

In the summer of 2018/19, Balbi composed and produced the new Test Cricket Theme for Fox Sports. Orchestrated by George Ellis and recorded with members of the Sydney Symphony, the theme is an iconic symbol of the Australian summer for generations.

Balbi’s debut solo LP, Black Rainbow (2013), and its surreal reprise, Rainbow Black (2016), appear to have provided a point of departure for his enigmatic artistry. Casting a renewed focus upon the notion humanity itself, in riff and verse, the first single ‘Modern Love’ was released in October 2018 and debuted at #3 on the iTunes Rock Chart. The second single, ‘Every Living Thing’, begets an enlightened variance in melody and rhythm from the dirty rotten groove of ‘Modern Love’. An ode to courage, friendship, temperance, pride, fairness, honour, laughter, and magnificence, a song that we can sing… so that children can live and breathe, ‘Every Living Thing’ is out 29 July 2019.

Steve Balbi

Music Lecturer

The music of singer, composer, performer and producer Steve Balbi is a kaleidoscope of rock ,pop, sentimentality and soul. First trying his hand at bass with Kevin Borich Express at just 17 years of age, Balbi was very much the child prodigy. Although the creative chameleon was soon liberated as he cultivated a song-writing partnership with Justin Stanley; first founding and producing Aussie chart-toppers Noiseworks in 1986, before forming the Electric Hippies in 1993.

Numerous European tours, four multi-platinum award-winning albums, and various ARIA Award Nominations later, Balbi lifted his guitar from the rack to form Universe with Cathy Green (X) in 1996, working with Prince and Paisley Park’s Susan Rogers, before Move Trees and Moon emerged in subsequent years. In 2011, Balbi accepted an invitation to front 1970s and ‘80s new-wavers Mi-Sex, who this year celebrate the 40th Anniversary of Graffiti Crimes. The LP and hit single ‘Computer Games’ scooped the pool at the 1979 Countdown/TV Week Awards – Mi-Sex won Best Album (Graffiti Crimes), Best/Most Popular Single (Computer Games), Best Producer (Peter Dawkins), and Best New Artist.

Reflecting upon his journey as a composer and producer, Balbi’s eclectic catalogue of production credits transcends genres. For the dynamic assemblage of artists that he’s produced includes Noiseworks, Electric Hippies, Glenn Shorrock, Juice, Jenny Morris, Pearls & Swine, Toe to Toe, Vincent Stone, Fyre Byrd, Moon, and Christine Anu, among numerous others. And in 1999, Balbi sat in on vocals and guitar for David Bowie’s Hours sessions with Marius de Vries too.

In April 2018, Dr Jordan Nguyen and his extraordinary team at Psykinetic launched Atmosphere – eye-controlled technology that enables people living with high-level physical disability to use only their eyes to make music. Balbi traversed new ground alongside Jessica Irwin to release the single ‘Winners (Psykinetic Mix)’, which was recorded for Psykinetic’s eye-controlled music software.

In the summer of 2018/19, Balbi composed and produced the new Test Cricket Theme for Fox Sports. Orchestrated by George Ellis and recorded with members of the Sydney Symphony, the theme is an iconic symbol of the Australian summer for generations.

Balbi’s debut solo LP, Black Rainbow (2013), and its surreal reprise, Rainbow Black (2016), appear to have provided a point of departure for his enigmatic artistry. Casting a renewed focus upon the notion humanity itself, in riff and verse, the first single ‘Modern Love’ was released in October 2018 and debuted at #3 on the iTunes Rock Chart. The second single, ‘Every Living Thing’, begets an enlightened variance in melody and rhythm from the dirty rotten groove of ‘Modern Love’. An ode to courage, friendship, temperance, pride, fairness, honour, laughter, and magnificence, a song that we can sing… so that children can live and breathe, ‘Every Living Thing’ is out 29 July 2019.

Shannon Brown

Senior Music Lecturer

Former tenor and Musical Director for the internationally acclaimed group The Ten Tenors, Shannon toured full-time for six years, performing an average of 250 shows per year across five continents.

Recorded a Platinum-selling album 'Here's To The Heroes' at Abbey Road Studios with the London Symphony Orchestra and launched the album performing at the Royal Albert Hall.

Shannon has recorded with Sting’s guitarist, Dominic Miller. American drummer, Vinnie Colaiuta. ‘Songwriters Hall of Fame’ lyricist, Don Black OBE, and Academy Award & Golden Globe winner, John Barry OBE.

Shannon has worked with Australia’s Guy Sebastian and Paulini Curuenavuli. John Foreman OAM, Chong Lim AM, James Morrison AM & Producer, Ken Laing AM. He has toured with Country star Jasmine Rae and been the Musical Director for the 2013 winner of The Voice, Harrison Craig.

Shannon continues to work with Australia’s Got Talent Winner, Mark Vincent, as his Musical Director for over 11 years.

Shannon Brown

Senior Music Lecturer

Former tenor and Musical Director for the internationally acclaimed group The Ten Tenors, Shannon toured full-time for six years, performing an average of 250 shows per year across five continents.

Recorded a Platinum-selling album 'Here's To The Heroes' at Abbey Road Studios with the London Symphony Orchestra and launched the album performing at the Royal Albert Hall.

Shannon has recorded with Sting’s guitarist, Dominic Miller. American drummer, Vinnie Colaiuta. ‘Songwriters Hall of Fame’ lyricist, Don Black OBE, and Academy Award & Golden Globe winner, John Barry OBE.

Shannon has worked with Australia’s Guy Sebastian and Paulini Curuenavuli. John Foreman OAM, Chong Lim AM, James Morrison AM & Producer, Ken Laing AM. He has toured with Country star Jasmine Rae and been the Musical Director for the 2013 winner of The Voice, Harrison Craig.

Shannon continues to work with Australia’s Got Talent Winner, Mark Vincent, as his Musical Director for over 11 years.

Rick Grossman

Music Lecturer

For the past 35 years, Rick has worked as a professional musician, spending five years (1982-1987) as a bass guitarist for Divinyls, and then in 1988 Rick began playing bass for the Hoodoo Gurus. From 1990 onwards Rick has been involved with a side project, Ghostwriters, along with Rob Hirst from Midnight Oil.

Rick has toured both Australia and internationally with the likes of Jimmy Barnes and Men at Work and produced Albums such as ‘Caution: Life Ahead, Artists for Recovery’, a collection of Australian artists to raise awareness for drug rehabilitation.

He has been inducted twice to the ARIA Hall of Fame, in 2007 for his work with Hoodoo Gurus, and also in 2006 for his work with Divinyls.

At JMC Academy, Sydney Campus, Rick teaches Band ensemble and encourages his students to follow their passions and always have commitment, creativity and to write original material.

Rick Grossman

Music Lecturer

For the past 35 years, Rick has worked as a professional musician, spending five years (1982-1987) as a bass guitarist for Divinyls, and then in 1988 Rick began playing bass for the Hoodoo Gurus. From 1990 onwards Rick has been involved with a side project, Ghostwriters, along with Rob Hirst from Midnight Oil.

Rick has toured both Australia and internationally with the likes of Jimmy Barnes and Men at Work and produced Albums such as ‘Caution: Life Ahead, Artists for Recovery’, a collection of Australian artists to raise awareness for drug rehabilitation.

He has been inducted twice to the ARIA Hall of Fame, in 2007 for his work with Hoodoo Gurus, and also in 2006 for his work with Divinyls.

At JMC Academy, Sydney Campus, Rick teaches Band ensemble and encourages his students to follow their passions and always have commitment, creativity and to write original material.

Olivia Nathan

Music Lecturer

Olivia is one of Melbourne’s most versatile freelance vocalists. With her silky smooth, soulful tones, Olivia has wowed audiences all over Melbourne, whether it is at a corporate event, wedding, nightclub, lounge or pub gig.

Singing since the age of 4, Olivia began performing at the age of 6 and has worked in and around Melbourne as well as interstate in various bands for the last 23 years.

Olivia studied music at Latrobe University and it was upon meeting fellow musician Robert John Sedky that she was introduced to a new network of musicians. Since that time 18 years ago, her music network has expanded immensely and she’s been lucky enough to work with some of the most talented musicians in Melbourne.

In 1999, Olivia and her then music partner formed a soul/rap rnb duo, Soul Class. They were signed to Molly Meldrum’s label, Melodian, a division of the then Mushroom Records. They released a single “You Left Me Behind” with Melodian then released “Downtown” the following year independently. Soul Class did many support shows, which were for acts such as Vanessa Amorosi.

Since the disbandment of Soul Class in 2001, Olivia has been freelancing with an array of different bands all around Melbourne. She has also performed as a backing vocalist for many other artists such as Vanessa Amorosi, Katie Cole, Tommy Rando, Josh Owen Band & Jade MacRae to name a few.

Olivia Nathan

Music Lecturer

Olivia is one of Melbourne’s most versatile freelance vocalists. With her silky smooth, soulful tones, Olivia has wowed audiences all over Melbourne, whether it is at a corporate event, wedding, nightclub, lounge or pub gig.

Singing since the age of 4, Olivia began performing at the age of 6 and has worked in and around Melbourne as well as interstate in various bands for the last 23 years.

Olivia studied music at Latrobe University and it was upon meeting fellow musician Robert John Sedky that she was introduced to a new network of musicians. Since that time 18 years ago, her music network has expanded immensely and she’s been lucky enough to work with some of the most talented musicians in Melbourne.

In 1999, Olivia and her then music partner formed a soul/rap rnb duo, Soul Class. They were signed to Molly Meldrum’s label, Melodian, a division of the then Mushroom Records. They released a single “You Left Me Behind” with Melodian then released “Downtown” the following year independently. Soul Class did many support shows, which were for acts such as Vanessa Amorosi.

Since the disbandment of Soul Class in 2001, Olivia has been freelancing with an array of different bands all around Melbourne. She has also performed as a backing vocalist for many other artists such as Vanessa Amorosi, Katie Cole, Tommy Rando, Josh Owen Band & Jade MacRae to name a few.

Kim Salmon

Music Lecturer

In 1976, Kim Salmon formed Perth’s first punk band the Cheap Nasties, who later became The Manikins. Salmon’s work with The Scientists in the 1980s influenced grunge music in a big way, with the band rising to prominence around Seattle, US, before impacting on popular music in the early 1990s.

The Scientists relied on unorthodox bass-heavy rhythms and distorted guitars, the latter being a direct precursor for grunge. The term itself was coined by Salmon in the mid-1980s to describe The Scientists’ sound, as noted in a documentary on Australian music, Long Way to the Top (2001).

Kim Salmon

Music Lecturer

In 1976, Kim Salmon formed Perth’s first punk band the Cheap Nasties, who later became The Manikins. Salmon’s work with The Scientists in the 1980s influenced grunge music in a big way, with the band rising to prominence around Seattle, US, before impacting on popular music in the early 1990s.

The Scientists relied on unorthodox bass-heavy rhythms and distorted guitars, the latter being a direct precursor for grunge. The term itself was coined by Salmon in the mid-1980s to describe The Scientists’ sound, as noted in a documentary on Australian music, Long Way to the Top (2001).

Kemo Bunguric

Head of Music (Sydney)

Kemo’s teaching methods and influence reflect his own passion and extensive skills in composition, arranging and music technology, especially since he is a piano accordion virtuoso and an Australasian Accordion Champion.

By the age of 13, Kemo had learned early on how important it was to market one’s self as a musician, a concept which he aims to instil in his students. Kemo ensures that his students understand how to develop themselves as well-rounded musicians and teaches them the importance of being progressive within the industry.

Kemo Bunguric

Head of Music (Sydney)

Kemo’s teaching methods and influence reflect his own passion and extensive skills in composition, arranging and music technology, especially since he is a piano accordion virtuoso and an Australasian Accordion Champion.

By the age of 13, Kemo had learned early on how important it was to market one’s self as a musician, a concept which he aims to instil in his students. Kemo ensures that his students understand how to develop themselves as well-rounded musicians and teaches them the importance of being progressive within the industry.

James O'Brien

Music Lecturer

James graduated with a Bachelor of Music (performance) from the Queensland Conservatorium in 2001 and immediately began work as a touring musician successfully traversing the jazz and popular music worlds. With modern piano trio Misinterprotato, James toured around Australia, the U.S., Canada and Japan and contributed to the group's first two releases through the Melbourne based Jazzhead label.

As singer and songwriter in Brisbane-Melbourne based indie-pop group The Boat People, James has released three albums, toured the U.S. 8 times (including two trips to SXSW), the U.K. twice and supported many outstanding Australian and International acts including Powderfinger, Crowded House and The Shins. The Boat People have had 8 songs playlisted on national radio station Triple J and in 2007 James signed a publishing deal with Ivy League/Mushroom which has seen his songs used extensively in television and film.

In 2012, James co-wrote and sung the breakout single "Half of It" for producer duo YesYou which received high rotation radio play on Triple J. James currently works as touring bass player with avant-folk group Machine Translations and songstress Kate Miller-Heidke. With his new group Darling James, he produced and music directed the "8 First Dates" event at the 2014 Melbourne Fringe which featured guests Ainslie Wills, Angie Hart (Frente), Jae Laffer (The Panics) and many others. Darling James are about to release their debut single and recently opened for legendary Australian group, The Church.

James O'Brien

Music Lecturer

James graduated with a Bachelor of Music (performance) from the Queensland Conservatorium in 2001 and immediately began work as a touring musician successfully traversing the jazz and popular music worlds. With modern piano trio Misinterprotato, James toured around Australia, the U.S., Canada and Japan and contributed to the group's first two releases through the Melbourne based Jazzhead label.

As singer and songwriter in Brisbane-Melbourne based indie-pop group The Boat People, James has released three albums, toured the U.S. 8 times (including two trips to SXSW), the U.K. twice and supported many outstanding Australian and International acts including Powderfinger, Crowded House and The Shins. The Boat People have had 8 songs playlisted on national radio station Triple J and in 2007 James signed a publishing deal with Ivy League/Mushroom which has seen his songs used extensively in television and film.

In 2012, James co-wrote and sung the breakout single "Half of It" for producer duo YesYou which received high rotation radio play on Triple J. James currently works as touring bass player with avant-folk group Machine Translations and songstress Kate Miller-Heidke. With his new group Darling James, he produced and music directed the "8 First Dates" event at the 2014 Melbourne Fringe which featured guests Ainslie Wills, Angie Hart (Frente), Jae Laffer (The Panics) and many others. Darling James are about to release their debut single and recently opened for legendary Australian group, The Church.

Emma Wilson

Music Lecturer

Emma has over 10 years of experience as a professional singer, and has been a regular on a variety of stages throughout South East Queensland as a lead and background vocalist. Emma holds a Masters Degree in Vocal Pedagogy from the Queensland Conservatorium of Music, and is a trained Vocologist, having studied under renowned voice scientist, Dr Ingo Titze at the National Centre for Voice and Speech in the USA. Emma is heavily involved with the Australian National Association of Teachers of Singing (ANATS) as the QLD Chapter Vice President and a member of the Board of Directors.

Having been a member of the JMC team since 2016, Emma loves playing a part in the development of aspiring artists as they build their skills and knowledge. Her specialty is in voice teaching and helping singers to get the most out of their voice and find their own unique sound. In addition to teaching at JMC, Emma maintains a busy private singing teaching studio in South Brisbane, conducts regular workshops for singers and singing teachers, and is a frequent presenter for ANATS professional development events and guest lecturer at various universities and schools.

Emma Wilson

Music Lecturer

Emma has over 10 years of experience as a professional singer, and has been a regular on a variety of stages throughout South East Queensland as a lead and background vocalist. Emma holds a Masters Degree in Vocal Pedagogy from the Queensland Conservatorium of Music, and is a trained Vocologist, having studied under renowned voice scientist, Dr Ingo Titze at the National Centre for Voice and Speech in the USA. Emma is heavily involved with the Australian National Association of Teachers of Singing (ANATS) as the QLD Chapter Vice President and a member of the Board of Directors.

Having been a member of the JMC team since 2016, Emma loves playing a part in the development of aspiring artists as they build their skills and knowledge. Her specialty is in voice teaching and helping singers to get the most out of their voice and find their own unique sound. In addition to teaching at JMC, Emma maintains a busy private singing teaching studio in South Brisbane, conducts regular workshops for singers and singing teachers, and is a frequent presenter for ANATS professional development events and guest lecturer at various universities and schools.

Dr Vincent Perry

Senior Music Lecturer

Dr Vincent Perry

Senior Music Lecturer

Chris Pickering

Head of Music (Melbourne)

Chris Pickering studied Jazz Drums at The Queensland Conservatorium Griffith University and played drums and guitar in a few well-known Australian groups before embarking on a solo career as a singer-songwriter in 2005. Since that time, he has recorded and released four full-length albums and four EPs of critically acclaimed original material, and in 2009 relocated to Nashville, Tennessee. Based there as a professional musician until 2013, he gained solid support and recognition from the Nashville songwriting and performing community, and toured and performed all over the United States and parts of Europe.

He is now based in Melbourne and has been Head of Music at JMC Melbourne Campus since 2014, since which time he has also gained a Masters in Music from Melbourne University. He still performs regularly in Melbourne and around Australia with his band and with other musical projects, when time permits.

Chris Pickering

Head of Music (Melbourne)

Chris Pickering studied Jazz Drums at The Queensland Conservatorium Griffith University and played drums and guitar in a few well-known Australian groups before embarking on a solo career as a singer-songwriter in 2005. Since that time, he has recorded and released four full-length albums and four EPs of critically acclaimed original material, and in 2009 relocated to Nashville, Tennessee. Based there as a professional musician until 2013, he gained solid support and recognition from the Nashville songwriting and performing community, and toured and performed all over the United States and parts of Europe.

He is now based in Melbourne and has been Head of Music at JMC Melbourne Campus since 2014, since which time he has also gained a Masters in Music from Melbourne University. He still performs regularly in Melbourne and around Australia with his band and with other musical projects, when time permits.

Chloe Harrison

Ensemble Coordinator

Previously hailing from Sydney, Chloe Harrison is now a Melbourne-based singer-songwriter, producer, composer, and voice actor.

Chloe started her career young, starting voice acting at 6 years old, working on hundreds of advertising campaigns for TV, radio, and cinema, as well as two seasons of an animated series that was aired internationally. She later moved towards music, starting work as a session singer.


After completing her undergraduate degree in Composition and Production, she started her own production company, in the first year recording 3 albums, 4 EP’s and several singles for independent artists in both Sydney and Rural NSW. She then embarked on her post-graduate studies in composition, while lecturing, performing, and working as a producer.

More recently, she has moved into working as a composer, sound designer, and voice actor for video games, while continuously working on her own original music.

Chloe Harrison

Ensemble Coordinator

Previously hailing from Sydney, Chloe Harrison is now a Melbourne-based singer-songwriter, producer, composer, and voice actor.

Chloe started her career young, starting voice acting at 6 years old, working on hundreds of advertising campaigns for TV, radio, and cinema, as well as two seasons of an animated series that was aired internationally. She later moved towards music, starting work as a session singer.


After completing her undergraduate degree in Composition and Production, she started her own production company, in the first year recording 3 albums, 4 EP’s and several singles for independent artists in both Sydney and Rural NSW. She then embarked on her post-graduate studies in composition, while lecturing, performing, and working as a producer.

More recently, she has moved into working as a composer, sound designer, and voice actor for video games, while continuously working on her own original music.

Cameron Bower

Senior Music Lecturer

Cameron Bower is a composer, producer, songwriter and improvising musician from Brisbane. His principle projects include work with Big Dead (2010 -) and Milk Buttons (2015 -) and is the artistic director and principle composer for New Music/Jazz ensemble Cowbird (2016 -).

As a composer he works within a world of improvised and composed forms, electronic and rock music, synthesising his tendency towards jazz and improvised music with the formal structures of contemporary classical idioms and techniques. As a producer he works in electronic/ambient and alternative rock contexts.

Cam teaches composition, piano and guitar as part of the Browning Street Music and Dance Teachers cooperative and works as a Sessional Academic at QUT and JMC lecturing on topics from music theory and composition to history and aural studies.

Cameron Bower

Senior Music Lecturer

Cameron Bower is a composer, producer, songwriter and improvising musician from Brisbane. His principle projects include work with Big Dead (2010 -) and Milk Buttons (2015 -) and is the artistic director and principle composer for New Music/Jazz ensemble Cowbird (2016 -).

As a composer he works within a world of improvised and composed forms, electronic and rock music, synthesising his tendency towards jazz and improvised music with the formal structures of contemporary classical idioms and techniques. As a producer he works in electronic/ambient and alternative rock contexts.

Cam teaches composition, piano and guitar as part of the Browning Street Music and Dance Teachers cooperative and works as a Sessional Academic at QUT and JMC lecturing on topics from music theory and composition to history and aural studies.

Alanya Bridge

Music Lecturer

Alanya is an award winning musical theatre composer lyricist. Her work has been performed around the world, including the Lincoln Center, Feinstein’s 54 Below, and numerous theatres in New York, London and Australia. A music director, pianist, performer, and singer songwriter, Alanya is also a passionate educator, having worked extensively with students in the theatre and music for over 15 years.

Alanya is a graduate of the Graduate Musical Theatre Writing Program, Tisch School of Arts, New York University and former member of the BMI Lehman Engel Musical Theatre Workshop. She is a member of the Dramatists Guild, APRA AMCOS and Mercury Musical Developments. She studied in London at Trinity Laban Conservatoire of Music and Dance, has a Master of Music and is a Licentiate of Trinity College, London. She is the recipient of the Wirripang Publishing award for New Composition and Specialist award for best Vocal Composition (2013), was granted the Lew Wasserman Scholarship (2016) and received the Rhona Morton Scholarship twice, for both her A.T.C.L. and L.T.C.L.

Sheet music for her compositions can be found at ContemporaryMusicalTheatre.com, www.homegrownaus.com and alanyabridge.com.

Alanya Bridge

Music Lecturer

Alanya is an award winning musical theatre composer lyricist. Her work has been performed around the world, including the Lincoln Center, Feinstein’s 54 Below, and numerous theatres in New York, London and Australia. A music director, pianist, performer, and singer songwriter, Alanya is also a passionate educator, having worked extensively with students in the theatre and music for over 15 years.

Alanya is a graduate of the Graduate Musical Theatre Writing Program, Tisch School of Arts, New York University and former member of the BMI Lehman Engel Musical Theatre Workshop. She is a member of the Dramatists Guild, APRA AMCOS and Mercury Musical Developments. She studied in London at Trinity Laban Conservatoire of Music and Dance, has a Master of Music and is a Licentiate of Trinity College, London. She is the recipient of the Wirripang Publishing award for New Composition and Specialist award for best Vocal Composition (2013), was granted the Lew Wasserman Scholarship (2016) and received the Rhona Morton Scholarship twice, for both her A.T.C.L. and L.T.C.L.

Sheet music for her compositions can be found at ContemporaryMusicalTheatre.com, www.homegrownaus.com and alanyabridge.com.

This course was different - very diverse! There was the singing, stagecraft and learning how to audio produce. It's helped me tour the world with my music.
Timomatic (Tim Omaji) - ARIA Award nominee, Urban Artist, Singer, Songwriter, Dancer/Choreographer
Music Alumni
The way I have been taught music here has changed my life. I try to inspire my own music students in the same way.
Mickey Pye - Principal, Bathurst College of Music, Toyota Starmaker Winner 2015
Music Alumni
JMC Academy has provided me with the ability to recognise good opportunities, to not shy away from the challenging ones and to be adaptable to changes in the industry.
Amara Primero - Composer for Screen
Music Alumni

Sydney Institute of Music + Sound Research (SIMSR)

In a constantly developing field, it’s important to keep exploring and innovating. That’s why we’ve partnered with the School of Communication at UTS to build The Sydney Institute of Music and Sound Research. SIMSR is dedicated to developing research in various forms of music and sound and exploring the relationship between them and audiovisual media. SIMSR members are active in researching, publishing and presenting on various aspects of music and sound cultures and in supervising postgraduate research, bringing you the latest advances in music + sound.

Are you ready to take the next step toward your career in Music Performance?

FAQs

If you are a vocalist, you are not required to play an instrument. However, if you have selected to play an instrument other than voice as part of your studies, your eligibility will be determined during the audition process. All successful applicants will be provided the tuition you need to progress through the course.

If you prefer to compose music electronically or use a DAW as your instrument, you should check out our Music Production course.

No, our courses are hands on and practical. Students are required to attend classes to receive ongoing mentorship, learn new skills and work with the equipment provided. We do encourage our students to use online study resources, however our courses would not be as immersive as they are without the practical component.

No. For those with little or no theory background, we'll teach you what you need to know from the ground up. We also offer a program during orientation week which provides a crash course to help you get started if theory isn’t your strong point. Additional support throughout your course will be available.

Yes. The JMC Academy is registered and regulated by the Tertiary Education Quality and Standards Agency (TEQSA) which is Australia’s independent national regulator of the higher education sector, both public and private.

This depends on what you’re auditioning with – there are different requirements for vocals vs instruments for example, so check with your admissions advisor as to what you will need to bring to your audition.

To make the best of the audition - practice! Play something that you’re comfortable with and know well. Don’t bite off more than you can chew. Don’t base your audition song on what you think we want to hear – we want to see who you are as an artist, so choose a song that you love playing and that shows your own unique style. Make sure you’ve brought everything you need. Don’t stress. We want you to do well and will try to make you feel as comfortable as possible.

Definitely. As part of the application process we conduct auditions which will help determine your level. Vocal ability is subjective and everyone is their own worst critic, so we encourage you to come along and show us what you’ve got...keeping in mind that we don’t expect you to be an accomplished performer or finished artist. It's our job however to get you there!

You will work with three main types of software - Sibelius, ProTools and Ableton.